Guerrilla Grannies
- Description
- Reviews
- Citation
- Cataloging
- Transcript
If you are not affiliated with a college or university, and are interested in watching this film, please register as an individual and login to rent this film. Already registered? Login to rent this film.
As a student in the 1960s, Dutch filmmaker Ike Bertels became captivated by an image she saw in a BBC documentary about Mozambique's war for independence: three young members of the Women's Detachment of the Mozambique Liberation Front (FRELIMO) sitting on the grass and cleaning their rifles.
Almost two decades later, in 1984, she tracked down the three women: Monica, Amelia, and Maria, who were now living through the civil war that followed Mozambique's independence. Monica now served as a member of a Central Committee of the ruling FRELIMO party. Maria was in school and taking care of her five children, and Amelia worked as a seamstress. Ten years later, Bertels returned to Mozambique to document these women once again, as they navigated the new society that emerged after the conclusion of the civil war in 1992.
GUERRILLA GRANNIES depicts Bertels' third encounter with these remarkable women, all three now grandmothers in their 60s, and narrates the filmmaker's long friendship with them. Today Mozambique has a growing industrial economy and stable political system. It also ranks among the top 25 countries in the world for women, according to a 2012 World Economic Forum report, thanks largely to the efforts of pioneers like Monica, Amelia, and Maria. Their success in helping transform the county has sapped none of their ambition, and the film reveals their tireless efforts to create a better life for their children and grandchildren.
Ruminating on her decades-long relationship with these three women, Bertels catalogues everything she has learned from them, realizing that they taught her 'how to live in this world.' The filmmaker's loving portrait of these women shows us the powerful cross-cultural relationships that can develop between a filmmaker and subject over decades of dedicated documentation, and an unsensational side of African life to which the cinema rarely grants us access.
“Exciting and critical... An important contribution to the cinematographic reflection of decolonization in sub-Saharan Africa.” —Anthropology Review Database
Citation
Main credits
Bertels, Ike (Director)
Ribeiro, João (Cinematographer)
Diependaele, Dieter (Film editor)
Elings, Albert (Film editor)
Goeliers, Jeroen (Composer)
Other credits
Script and direction, Ike Bertels; director of photography, João Ribeiro; editor, Dieter Diependaele, Albert Elings; music & soundmix, Jeroen Goeliers.
Distributor subjects
Africa; African History; African Studies; Aging; Biographies; Conflict Resolution; Family Relations; History (World); Human Rights; Mozambique; Politics; Social Movements; Women's StudiesKeywords
WEBVTT
00:00:15.000 --> 00:00:20.000
[sil.]
00:01:00.000 --> 00:01:05.000
[sil.]
00:01:10.000 --> 00:01:15.000
[non-English narration]
00:03:00.000 --> 00:03:05.000
[sil.]
00:03:30.000 --> 00:03:34.999
[sil.]
00:03:35.000 --> 00:03:39.999
The story of my connection
00:03:40.000 --> 00:03:44.999
with Amelia beings when
I was in my mid 20s.
00:03:45.000 --> 00:03:49.999
I saw her in a BBC documentary
on FRELIMO soldiers,
00:03:50.000 --> 00:03:54.999
together with her guerrilla friends,
she was fighting in the bush,
00:03:55.000 --> 00:03:59.999
a 10-year liberation war against
the Portuguese colonizers.
00:04:00.000 --> 00:04:04.999
There were three young women
sitting in the grass,
00:04:05.000 --> 00:04:09.999
Monica, Amelia, and Maria.
00:04:10.000 --> 00:04:14.999
This image never left me.
00:04:15.000 --> 00:04:20.000
[sil.]
00:04:25.000 --> 00:04:29.999
[sil.]
00:04:30.000 --> 00:04:34.999
[music]
00:04:35.000 --> 00:04:39.999
I’m back in Mozambique
00:04:40.000 --> 00:04:44.999
with the camera for the third time.
00:04:45.000 --> 00:04:49.999
[sil.]
00:04:50.000 --> 00:04:54.999
The first of the woman I meet is Monica.
00:04:55.000 --> 00:04:59.999
Monica lives in the capital
with her grandson.
00:05:00.000 --> 00:05:04.999
She has diabetes and I’m touched
to see how it has aged her.
00:05:05.000 --> 00:05:09.999
But it feels good to see her again
and to go shopping with her.
00:05:10.000 --> 00:05:18.000
[sil.]
00:05:35.000 --> 00:05:40.000
[sil.]
00:06:20.000 --> 00:06:25.000
[sil.]
00:06:30.000 --> 00:06:38.000
[sil.]
00:06:55.000 --> 00:07:00.000
[non-English narration]
00:07:35.000 --> 00:07:40.000
[sil.]
00:08:20.000 --> 00:08:28.000
[sil.]
00:08:30.000 --> 00:08:34.999
I started taking science, mathematics
and a little bit of English.
00:08:35.000 --> 00:08:39.999
Most men can go up to standard 6 or more.
00:08:40.000 --> 00:08:44.999
But, especially the girls, when
they’ve standard 3 or 4, they stop.
00:08:45.000 --> 00:08:49.999
They say it’s enough for us Africans.
00:08:50.000 --> 00:08:58.000
[sil.]
00:09:05.000 --> 00:09:09.999
Maria has always been the educated one
and is the most ambitious of the three.
00:09:10.000 --> 00:09:14.999
Recently, she had a stroke and she
doesn’t want to be filmed again.
00:09:15.000 --> 00:09:19.999
She’s taken care of by her children.
00:09:20.000 --> 00:09:28.000
[sil.]
00:10:25.000 --> 00:10:33.000
[sil.]
00:11:05.000 --> 00:11:13.000
[sil.]
00:11:35.000 --> 00:11:40.000
[sil.]
00:12:25.000 --> 00:12:29.999
I visited Mozambique for the first time
00:12:30.000 --> 00:12:34.999
in 1984, this was after a long
search for the three women
00:12:35.000 --> 00:12:39.999
I had seen in the film. I had learned
Portuguese, so I could talk with them.
00:12:40.000 --> 00:12:44.999
With me, I took the BBC film with images
00:12:45.000 --> 00:12:49.999
that it moved me so much. It was
the very first time they saw it.
00:12:50.000 --> 00:12:55.000
[music]
00:13:45.000 --> 00:13:49.999
Soldiers teach each other their
traditional songs and dances
00:13:50.000 --> 00:13:58.000
which are becoming part of a national
rather than purely regional heritage.
00:14:10.000 --> 00:14:18.000
[music]
00:14:30.000 --> 00:14:38.000
[sil.]
00:15:25.000 --> 00:15:33.000
[sil.]
00:16:10.000 --> 00:16:15.000
[sil.]
00:16:20.000 --> 00:16:25.000
[sil.]
00:16:30.000 --> 00:16:35.000
[sil.]
00:16:40.000 --> 00:16:45.000
[sil.]
00:16:50.000 --> 00:16:58.000
[sil.]
00:18:10.000 --> 00:18:15.000
How was the harvest?
00:19:15.000 --> 00:19:23.000
[sil.]
00:20:15.000 --> 00:20:23.000
[sil.]
00:20:50.000 --> 00:20:58.000
[non-English narration]
00:21:05.000 --> 00:21:10.000
[sil.]
00:22:15.000 --> 00:22:20.000
[non-English narration]
00:23:20.000 --> 00:23:28.000
[non-English narration]
00:23:50.000 --> 00:23:58.000
[sil.]
00:24:25.000 --> 00:24:30.000
[sil.]
00:26:00.000 --> 00:26:04.999
Monica, Amelia, and Maria
are now guerrilla grannies.
00:26:05.000 --> 00:26:09.999
These days they don’t
see each other anymore.
00:26:10.000 --> 00:26:14.999
They live, scattered all over the country.
For me, this is really Africa.
00:26:15.000 --> 00:26:19.999
My sense of time changes
00:26:20.000 --> 00:26:24.999
as I sit with Amelia and
listen to her stories. I enjoy
00:26:25.000 --> 00:26:33.000
her sense of life.
00:26:35.000 --> 00:26:43.000
[sil.]
00:27:00.000 --> 00:27:05.000
[sil.]
00:28:40.000 --> 00:28:48.000
[sil.]
00:29:40.000 --> 00:29:48.000
[sil.]
00:29:55.000 --> 00:30:00.000
[sil.]
00:32:15.000 --> 00:32:23.000
[music]
00:32:40.000 --> 00:32:48.000
[sil.]
00:32:50.000 --> 00:32:54.999
I realized that for Monica,
Amelia, and Maria,
00:32:55.000 --> 00:32:59.999
the countries newly gained freedom
held promises of a bright feature.
00:33:00.000 --> 00:33:04.999
Samora Machel, the leader in
the bush was now the president
00:33:05.000 --> 00:33:09.999
of this new Socialist Republic.
He had a plan.
00:33:10.000 --> 00:33:14.999
The new man as he called
it was to be a Mozambican,
00:33:15.000 --> 00:33:19.999
no longer a slave to the Portuguese.
Independent, well nourished,
00:33:20.000 --> 00:33:24.999
educated, and there was to be
equality between men and women.
00:33:25.000 --> 00:33:33.000
[music]
00:34:00.000 --> 00:34:04.999
I remember I was impressed to see
this woman from the countryside
00:34:05.000 --> 00:34:09.999
who had learned to read and write in
the bush in such a high position.
00:34:10.000 --> 00:34:14.999
[non-English narration]
00:34:15.000 --> 00:34:23.000
[sil.]
00:38:10.000 --> 00:38:18.000
[sil.]
00:39:00.000 --> 00:39:08.000
[non-English narration]
00:39:35.000 --> 00:39:43.000
[sil.]
00:39:50.000 --> 00:39:58.000
[sil.]
00:40:15.000 --> 00:40:23.000
[music]
00:41:10.000 --> 00:41:15.000
[sil.]
00:41:40.000 --> 00:41:45.000
[sil.]
00:42:10.000 --> 00:42:18.000
[sil.]
00:42:20.000 --> 00:42:24.999
As we said our goodbyes, I realized how
much my own life had been inspired
00:42:25.000 --> 00:42:29.999
by these women to fight for
independence and emancipation,
00:42:30.000 --> 00:42:34.999
ever since seeing that precious
image of them sitting in the grass.
00:42:35.000 --> 00:42:40.000
[sil.]
00:43:10.000 --> 00:43:18.000
[sil.]
00:44:00.000 --> 00:44:05.000
[sil.]
00:44:30.000 --> 00:44:35.000
[sil.]
00:45:15.000 --> 00:45:23.000
[music]
00:46:25.000 --> 00:46:33.000
[music]
00:47:35.000 --> 00:47:43.000
[music]
00:47:50.000 --> 00:47:58.000
[sil.]
00:48:00.000 --> 00:48:04.999
There’s something ire
00:48:05.000 --> 00:48:09.999
about this modern life in Maputo. It
belies the catastrophe that took place
00:48:10.000 --> 00:48:14.999
shortly after independence. Who could
have imaged that Monica, Amelia,
00:48:15.000 --> 00:48:19.999
and Maria, would have to
withstand a civil war as well,
00:48:20.000 --> 00:48:24.999
one which lasted for 16 years and
killed more than a million people,
00:48:25.000 --> 00:48:29.999
until finally peace came and
two years later in 1994,
00:48:30.000 --> 00:48:34.999
the very first elections.
00:48:35.000 --> 00:48:39.999
For second time I went looking for
the women with my camera crew.
00:48:40.000 --> 00:48:44.999
[music]
00:48:45.000 --> 00:48:49.999
Maria was to arrive in Maputo
shortly after I had landed.
00:48:50.000 --> 00:48:54.999
She, the educated one,
00:48:55.000 --> 00:48:59.999
had made a career abroad and
was coming home to vote.
00:49:00.000 --> 00:49:04.999
[music]
00:49:05.000 --> 00:49:09.999
I was stunned to see
this woman of the world.
00:49:10.000 --> 00:49:15.000
At first, I hardly recognized
her with a beautiful wig.
00:49:30.000 --> 00:49:34.999
I got a job in the
organization of African Unity
00:49:35.000 --> 00:49:40.000
in Addis Ababa in Ethiopia.
00:49:45.000 --> 00:49:49.999
I went in 1991… September 1991
00:49:50.000 --> 00:49:54.999
with all the children and the boy had to
finish his high school here in Maputo.
00:49:55.000 --> 00:49:59.999
I hoped that the girls will be
with me, but one girl said no,
00:50:00.000 --> 00:50:05.000
I also want to go back home.
So, she came back home.
00:50:10.000 --> 00:50:14.999
[sil.]
00:50:15.000 --> 00:50:19.999
It was supposed this way, we were
fighting, all of us were fighting.
00:50:20.000 --> 00:50:24.999
People who were educated and non-educated, you
know everybody, we were all going together,
00:50:25.000 --> 00:50:29.999
you know, to… for fighting
to… uh… to get independence.
00:50:30.000 --> 00:50:34.999
But after independence umm…
00:50:35.000 --> 00:50:39.999
it was not possible for all
of us to get nice jobs,
00:50:40.000 --> 00:50:44.999
good jobs, so some people who were left
out and they were not happy about that
00:50:45.000 --> 00:50:49.999
and so that’s why when we
became independent, some people
00:50:50.000 --> 00:50:54.999
stepped aside and started this
resistance which is (inaudible). Uh…
00:50:55.000 --> 00:50:59.999
FRELIMO leaders only thought that those are
(inaudible), you know, they will do nothing
00:51:00.000 --> 00:51:05.000
but the thing spread a little…
a little and it became huge.
00:51:25.000 --> 00:51:33.000
[sil.]
00:52:15.000 --> 00:52:20.000
[sil.]
00:52:45.000 --> 00:52:53.000
In my family too. My nephew was killed,
the one who was born before my father.
00:52:55.000 --> 00:52:59.999
When he left Zimbabwe
and arrived home, here.
00:53:00.000 --> 00:53:04.999
He’d fled to Zimbabwe with his children.
00:53:05.000 --> 00:53:09.999
A week after he had returned
home, he was killed.
00:53:10.000 --> 00:53:14.999
When those RENAMO guys came, they slit his throat. They stabbed
him in the stomach and left him there, just like that.
00:53:15.000 --> 00:53:20.000
They killed about 18 people
like this, in Licole.
00:54:15.000 --> 00:54:23.000
[non-English narration]
00:54:25.000 --> 00:54:33.000
[sil.]
00:55:15.000 --> 00:55:23.000
[sil.]
00:55:40.000 --> 00:55:44.999
As I have been out for
three years we can say,
00:55:45.000 --> 00:55:49.999
many new types of newspapers have come up.
00:55:50.000 --> 00:55:54.999
They make me understand what is the change, what
is happening. And In the televisions we know,
00:55:55.000 --> 00:55:59.999
in the newspapers and they saw,
say multiparty, multi newspapers,
00:56:00.000 --> 00:56:04.999
you know everybody is talking, everybody
is free to talk about this and that.
00:56:05.000 --> 00:56:09.999
And you find it exciting? Very exciting.
Really this is very exciting
00:56:10.000 --> 00:56:14.999
because this never happened before… before
the peace treaty especially, never happened.
00:56:15.000 --> 00:56:23.000
[sil.]
00:58:00.000 --> 00:58:08.000
[sil.]
00:58:35.000 --> 00:58:43.000
[sil.]
00:59:00.000 --> 00:59:08.000
[sil.]
00:59:15.000 --> 00:59:19.999
For a long time
00:59:20.000 --> 00:59:24.999
after this second visit in the 1994, I
was to remember Monica’s stoic optimism
00:59:25.000 --> 00:59:29.999
and the sadness in Amelia’s eyes.
00:59:30.000 --> 00:59:34.999
[music]
00:59:35.000 --> 00:59:39.999
I’m pleasantly surprised
00:59:40.000 --> 00:59:44.999
when Amelia invites me to attend
her granddaughter’s graduation.
00:59:45.000 --> 00:59:49.999
Remember that 3-year-old in the red shirt?
Well, here she is.
00:59:50.000 --> 00:59:58.000
[sil.]
01:00:00.000 --> 01:00:05.000
[non-English narration]
01:00:45.000 --> 01:00:53.000
[music]
01:01:15.000 --> 01:01:19.999
[sil.]
01:01:20.000 --> 01:01:24.999
From Amelia, I learned that
it is important to sow
01:01:25.000 --> 01:01:29.999
and to reap at the right time. She applies
this wisdom to raising her offspring,
01:01:30.000 --> 01:01:35.000
but even a born farmer like her
cannot predict where rain will fall.
01:01:40.000 --> 01:01:45.000
[sil.]
01:03:55.000 --> 01:04:03.000
[non-English narration]
01:04:20.000 --> 01:04:28.000
[sil.]
01:05:00.000 --> 01:05:08.000
[sil.]
01:06:15.000 --> 01:06:20.000
[sil.]
01:06:40.000 --> 01:06:48.000
[sil.]
01:07:15.000 --> 01:07:23.000
[sil.]
01:08:10.000 --> 01:08:15.000
[sil.]
01:08:30.000 --> 01:08:35.000
[sil.]
01:08:55.000 --> 01:09:03.000
[sil.]
01:09:10.000 --> 01:09:15.000
[sil.]
01:09:20.000 --> 01:09:25.000
[sil.]
01:09:50.000 --> 01:09:55.000
[sil.]
01:10:15.000 --> 01:10:19.999
For Monica the dead are not
dead, they surround us
01:10:20.000 --> 01:10:24.999
and take part in our daily life.
01:10:25.000 --> 01:10:29.999
When I joined her, as she
visits her daughter’s grave.
01:10:30.000 --> 01:10:35.000
I realized how many deaths she has
been confronted within her life.
01:10:50.000 --> 01:10:58.000
[sil.]
01:11:05.000 --> 01:11:13.000
[sil.]
01:11:40.000 --> 01:11:48.000
[sil.]
01:12:50.000 --> 01:12:55.000
[sil.]
01:13:15.000 --> 01:13:20.000
[sil.]
01:14:40.000 --> 01:14:44.999
I’m about to leave.
01:14:45.000 --> 01:14:49.999
I may never see Monica, Amelia,
and Maria again. But I now know
01:14:50.000 --> 01:14:54.999
that they showed their children how to live
in this world, how to create a future.
01:14:55.000 --> 01:15:00.000
Amelia always says, the future is today.
01:16:10.000 --> 01:16:18.000
[sil.]
01:17:20.000 --> 01:17:28.000
[sil.]
01:18:05.000 --> 01:18:10.000
[sil.]
01:19:45.000 --> 01:19:50.000
[sil.]